Published: 30 October 2022
Cairo, 1941. David Stirling - an eccentric young officer, hospitalised after a training exercise went wrong - is bored. Convinced that traditional commando units don’t work, he creates a radical plan that flies in the face of all accepted rules of modern warfare. He fights for permission to recruit the toughest, boldest and brightest soldiers for a small undercover unit that will create mayhem behind enemy lines. More rebels than soldiers, Stirling’s team are every bit as complicated, flawed and reckless as they are astonishingly brave and heroic.
Rich with action and set-pieces, SAS Rogue Heroes is the exhilarating story of renegade men taking monumental risks in extraordinary circumstances.
Made for the BBC by Kudos (a Banijay company) SAS Rogue Heroes is a six-part series created, written and executive produced by Steven Knight and directed by Tom Shankland, with Stephen Smallwood as producer. The series is executive produced by Karen Wilson, Martin Haines and Emma Kingsman-Lloyd for Kudos, and Tommy Bulfin for the BBC.
SH2
Cast
Connor Swindells – David Stirling
Jack O’Connell – Paddy Mayne
Alfie Allen – Jock Lewes
Sofia Boutella – Eve Mansour
Dominic West – Dudley Clarke
Theo Barklem-Biggs – Reg Seekings
Tom Glynn-Carney – Mike Sadler
Corin Silva – Jim Almonds
Jacob Ifan – Pat Riley
Jacob McCarthy – Johnny Cooper
Stuart Campbell – Bill Fraser
Bobby Schofield – Dave Kershaw
Dónal Finn – Eoin McGonigal
Amir El-Masry – Dr Gamal
Virgile Bramly – George Berge
César Domboy – Augustin Jordan
Introduction to SAS Rogue Heroes by writer Steven Knight
I was approached by the production company Kudos to adapt historian Ben Macintyre’s book charting the creation of the SAS, a fairly routine origin for a project such as this. But as I turned that first page I was thrown into an astonishing account of mad, wild and unexpected events.
Here we have a group of men who were by no means ordinary, yet never expected the ‘superhero’ treatment. They came from all corners of the UK and from every class, working together with an unforced swagger that tells us they have no point to prove, simply a job to do and a strong belief at their core that they can deliver. All this whilst surrounded by the most extraordinary and perilous circumstances.
To create a drama from this amazing story I had to sculpt a world where things are a little bit heightened, much like how war and the absurdity of it heightens every emotion. Bringing characters to life to inhabit this world, especially ones that are not archetypical heroes, was made so much easier by leaning on the facts and the truths. A more conventional approach would have been to simply focus on success upon success, but these are real men with real flaws who made mistakes along their paths to victories.
SAS Rogue Heroes tells the true story of war... the chaos, the comedy, the tragedy, all in one moment.
Interview with Connor Swindells (David Stirling)
What is SAS Rogue Heroes?
SAS Rogue Heroes is a show about how the SAS was formed during WW2 in North Africa. It’s about a bunch of rag tag fellas who took matters into their own hands because they felt that the controlling forces weren’t capable of doing it themselves.
What drew you to this story?
A main thing was the people involved. Tom Shankland, a fantastic director and a wonderful person, and someone who I knew would collaborate with us all. The writing is phenomenal, Steven Knight is a genius so it’s brilliantly written. The characters are flawed, they’re humans as much as they are heroes. There was too much that drew me to this project to turn away from it.
Can you talk about the dynamic between you, Alfie and Jack?
I think it’s an important bond between the three, and it was as the story tells. We’re three guys who love each other dearly. It was an amazing bonding experience to do a job that was so physically and mentally demanding.
Did you do any preparation for the role?
There was a big prep period for this and I’m really grateful that I got to do it. We had a big rehearsal period before filming which was really helpful for all the guys to really get to know each other and just hash out key scenes in person. The bootcamp was intense - we would start at about 7am when it was already about 30 degrees in Morocco, so you could easily burn and get sun stroke even at that time of day. It was hard – lots of marching around in the sand - but it was fun and a real bonding experience. Reading David Stirling’s autobiography gave me a really great insight into his mind, and reading books about people’s perspective on him was informative.
Can you talk about the characters going rogue as the desert claims them?
As the show goes on and the arcs continue there’s a real degrading process that happens with all of them physically and mentally. They all become these desert pirates who live off the land and learn to read it very well. That’s shown in the make-up and the wonderful costumes that we have. I feel very lucky that I was able to work with such an amazing team who provided support and it was great to have people so good at their jobs who really took pride and care into everything that they did. Everyone was really passionate about this job and it really showed, and wow did we need it when we were out there in that heat. There was a real kind of morale felt between everyone.
Do you have a favourite moment from Morocco or a favourite scene?
One of my favourite scenes was doing the convoy opening shoot from episode one. This crazy sandstorm blew in which wasn’t uncommon, and we were on this incredible salt flat. Now I look back and think of how incredible it was, but at the time you’re so focussed on work that you can’t comprehend the scenery around you. It was a fantastic moment in my life - being somewhere that big and feeling so small in the middle of it was really quite special.
I think ultimately they’re fighting for something that’s bigger than themselves, even though there is a lot of ego involved, narcissism and neurotic behaviours, but they are fighting for a cause that is bigger than themselves and they do so very effectively.
Can you tell us about working with Tom Shankland?
I think if it wasn’t for Tom I wouldn’t have been able to play David Stirling at all. I think he feeds off the chaos and because of that always keeps morale, even when it’s really hard. I think on face value Tom Shankland wouldn’t have been the guy to do this job, but ultimately when you meet him he’s the most extreme adrenaline junkie, Hawaiian-shirt-wearing, sweet-talking dude who is perfect for this kind of experience. There is a version of this story that you could tell - a superhero version where no one has any emotions – but this isn’t that. This is a version that features the flawed nature of all of these characters too. These are the things Tom and myself really wanted to dive into, and what I think is going to make this show so special.
How hard was it to shoot?
It was so hard to film out there in the Sahara in those conditions, but it brought a real truth to it that you couldn’t have cheated in any other circumstance. I feel grateful for that. It is a character in itself and was something we as a crew had to wrestle with. I’m very grateful for how tough it was and I think it will influence our performances and make it that much better.
Interview with Jack O’Connell (Paddy Mayne)
What is SAS Rogue Heroes about?
It’s Steven Knight’s telling of a piece of the Second World War that wasn’t made public knowledge for a long, long time.
You had a few central figures such as Jock Lewes and David Stirling who were founding fathers of the SAS unit. I guess third in line in the parental role would be Paddy. I give my perspective on Paddy’s story throughout this particular era of the war, the SAS and its origin.
Looking from Paddy’s angle, at the risk of sounding simplistic, this was a chance to finally utilise what made him unique as an officer of the British Army. After joining and forging the SAS, he was finally in an environment in which he could utilise his skills, his rebelliousness and his all-out want to progress and turn the fate of the war. Anything you read up until that point will tell you that Paddy was finding himself in hot water a lot of the time, with him locked up in military jail, not really fitting into the mould of what was expected of a soldier of his rank at the time.
I imagine that when he finds himself being headhunted by David Stirling to become part of this unit, that he is finally finding himself in a place where he is able to operate fully; without the restrictions of military discipline and having to take orders from men he would probably consider less able than him, and also just the bureaucracy of the British Army at the time.
What was exciting for you about the project?
I would have to go back to when I first heard about Paddy Mayne. For years there have been stories and scripts floating around about him, perhaps not so much focused on the unit as a whole. But Paddy Mayne’s story is so cinema-worthy, so TV-worthy, that I was already aware of him through being sent scripts and hearing rumours about certain projects that never came into fruition. When this one came along, I was already geared to wanting to be involved.
Then it was a case of reading Steven’s script, and he doesn’t write bad scripts so that made saying yes to this easy. I then met Tom Shankland, who you wouldn’t put down as an obvious choice to be directing a very machoistic-centric story. I suppose the obvious choice would be to lean into the war-type glorification of it all, but he is not about that. I don’t think he would mind me describing him as a bit of a hippy. I think he just wants to know what is at the centre of these characters, and what is going on? Who are these people? What is making them tick? How do they reconcile with the things that they do? I think within war you have real extreme versions of that and I get the impression that that’s what gets him going, focusing on the psychology of the sort of person it would take. In David Stirling’s case, to put two fingers up to the British military on the whole, forging himself a unit and go way behind the enemy lines. Tom seems to want to know why, what the story of the psychology behind it is. It just struck me as a perfect sort of appointment.
It was pretty obvious when speaking to him first off that was where his mindset was, and we talked a lot about not only Paddy’s exploits as a war hero but his interest in poetry, literature. There are accounts of him that say that he was humongously compassionate at times when it was needed. These aren’t the labels people are quick to peg onto someone of his military decorated past. So I was just like, yeah: sign me up, count me in!
And then we had to find David Stirling and I count myself quite fortunate that I was included in part of that process and was able to read with one or two actors for the role. When you saw Connor’s take there was no removing him from what you were hoping the project would end up being. Working with him has been one of the highlights of the job, just to see him step up to the mark and take it all in his stride. What he does when the cameras are on is spell-binding.
What preparation did you do for this role?
First and foremost he is written as being very articulate, profound in some of the things he says. Obviously he likes to recite copious amounts of poetry, which is an interesting detail on the page. It was just a case of doing it, doing it to a point where it feels comfortable, second nature. I think that goes for most of the roles you play, just get well acquainted with the words.
What about to prepare for the accent?
I had a great voice coach - Brendan Gunn - who I have worked with for a few years. He is from Northern Ireland.
There is no recorded footage of Paddy speaking, which is helpful for me. It just means I have got a bit of room for manoeuvre, instead of trying to hone into something that is famously known. I can sort of reimagine it a little bit.
Where you involved in any of the physical training?
We had a fortnight of bootcamp type training led by our military advisor, a fellow called Bags. He is an ex-serviceman and knows of what he speaks. It was good. He was a good training officer. We did a fair bit of physical type stuff and tried to feel a little fitter anyway. When we moved to Morocco we had another two weeks of warm weather training. We got up early and did various types of punishment. And some days we would have a morning off and played around together in the sand dunes. That was good for morale, team building, that type of thing.
And then we had to get good at drill. Even though we only touch on it a little bit in the series, it was nice to know and to try to regiment that collective way of thinking a bit. I used to be a cadet myself - I was in the 126 Air Training Corps City of Derby squadron from when I was 11 to 15. I was a good cadet. The cadet in me was doing cartwheels every day. By day two everyone knew about my cadet history, even the ex-military lads. They are like hardened battle folk and I’m chiming in, thinking that my cadet stories had any place alongside that calibre. They’d be reliving war tales and I’m talking about polishing my shoes and going on camps.
Interview with Alfie Allen (Jock Lewes)
What was appealing to you about this project?
The fact that I get to play a real person is always something that gets me going as an actor. Obviously there is a freedom to being able to just create your own character out of something totally fictional, but when you are playing a real-life character there is a framework to go from and a blueprint to work with.
On top of the fact that Jock was a very respected individual in his time, he was maybe considered a little bit of a maverick in the sense that his methods weren’t even tested really, let alone proven. He was pushing the boundaries in terms of what he would make his men do. That would not win him fans but it would later cement his place as a pioneer in SAS history. That was definitely one thing that really attracted me towards playing him - he was such a revered character in the SAS.
Were these the most extreme conditions you’ve ever filmed in?
I have shot in very cold conditions before so this was the polar opposite to that. I have to admit that I just lapped it up, I just loved it. Apart from the two to three day period where I was suffering from heat stroke and food poisoning at the same time… that was not nice.
I’d say the one day that really sticks in the memory for me was in episode three when me and Mike Sadler, played by Tom Glynn-Carney, meet. That day was 53 degrees Celsius, it was super super hot. The environment we were working in definitely lent itself to a kind of forced method acting.
It was a test of physical and mental endurance without a shadow of a doubt. We were in these insane conditions that obviously the real life story would have taken place in, but of course there would have been way, way more to deal with back then than we as the actors were dealing with.
Was there a sense of camaraderie between the cast? As soon as we got out there it really did become a thing of everybody looking out for each other. Obviously we would all sit around and play poker together and whatever extra-curricular activities after the shoot would take place. But we all really looked out for each other in this sort of alien environment, it really bonded us. Once we got out there, that was really the only time we all got together as a crew and started to sort of get the feeling of being brothers in arms. We started doing the drills in the mornings, and yeah just always checking in with each other. Making sure everyone was drinking enough water, eating enough food and it was a lovely environment to be in.
What do you think were the special qualities or attributes of the original SAS members?
Who knows, really? For me one thing about Jock that I found very fascinating and interesting - and I think actually a few of them do have this - was being raised in a kind of traditional religious household. And then they had this sort of yearning to go and be in a battle field, in a life or death situation. Two just totally different ideals there, but they match up to create this fearsome soldier you know. I think that is a quality that enables Jock to go out there and be this machine of war.
Interview with Sofia Boutella (Eve Mansour)
What is SAS Rogue Heroes about?
It’s about one of the most intense and mysterious combat organisations that started in 1941 during Second World War in North Africa. They were a group of men that were intense, intelligent, and that didn’t go by the rules.
Who do you play and do you consider Eve to be a ‘rogue hero’?
I play Eve Mansour - a spy, an intelligence officer, who is the Deputy Head of French intelligence in Cairo under General de Gaulle’s command.
She is definitely a ‘rogue hero’, because she doesn’t go by the rules and uses her own methods to accomplish what needs to be accomplished in order to free North Africa from the Nazis. It would’ve been a disaster if the Nazis had kept going and invaded Africa.
Even if Eve is a fictional character in comparison to David Stirling or Paddy Mayne, she is very much a character that existed at the time. There were spies like Noor Inayat Khan or Virginia Hall. So many incredible women who were a part of the liberation during the Second World War. Eve, like a lot of them, used methods that were born within her instinct and her intelligence.
What do you think the character of Eve represents for history?
Considering their backgrounds, a lot of men at the time had all these pre-made ideas about the capacities of women like Noor Inayat Khan or Virginia Hall. My character also uses her background and her physical aspect in order to lure people, in order to get what she needs to free the exiled Free French government and North Africa from the Nazis.
What drew you to this project and to the character of Eve?
I read Ben Macintyre’s book and saw his documentary, and I’m in such admiration of these men and what they were able to accomplish for the time. It’s so remarkable and I’m so glad that this story is being told.
These characters were also very particular, essential and so eccentric. I think they represent something even bigger than liberating North Africa from the Nazis. Just looking at Paddy Mayne’s character and the arc that it follows, it’s very very current and essential to be talked about. I think that’s the same for David Stirling. As much as my character is not based on one real-life person, she’s very much a character that existed at the time - women that were essential to the liberation during the second World War. I was really drawn to telling this story, to play this female character who is strong, powerful and essential to a story – to an arc of the story.
I remember reading the script, it’s such a page-turner and it flows, the story was really well told.
What also drew me was the fact that I grew up in a military family. My grandfather was a colonel when Algeria gained its independency in 1962, but was a captain under the French military. I grew up very much in a military family, so it just hits home for me. In that way being Algerian, growing up in Paris and having that relationship with France - and so does my character who is Algerian but serves under the French regime under General de Gaulle directly. I was also very proud to play an Algerian character who is considered highly in those kind of areas, who is also educated, and serving a purpose that is bigger than her own.
Have you got a favourite scene or location you’ve shot?
One night we were shooting this romantic scene between Stirling and Eve, and out of nowhere within seconds the biggest sandstorm just hit us, I think we got that on camera. It’s so funny because me and Connor are still trying to make this scene as romantic as possible.
How was it to work with Tom Shankland?
He’s fantastic to work with. He’s probably one of the most positive directors, if not person, I’ve ever met. Anything could happen - covid, heatstroke, sandstorm - and he’s always there with a glass half full mentality. That’s always helpful for a team to have someone leading us who has so much positivity.
Can you describe SAS Rogue Heroes in a few words?
This show is an important and essential part of history about real men who fought during an important time. This show is about the bravery and the courage of these men, and the insanity of these men.
Why do you think people should watch the show?
First of all it is highly entertaining. And second of all, even though this is a drama and not a documentary I think you’ll learn quite a lot. Digging into the lives of these men is interesting and fascinating. I did not know about these men before I was on this project and I fell in love with all of them. I’m in such awe and admiration of what they were able to accomplish that I think everyone should give it a go and watch the show, read the book and watch the documentaries because these men are courageous and fascinating.
Interview with Dominic West (Lieutenant Colonel Wrangel Clarke)
Who do you play?
I’m playing Lieutenant Colonel Dudley Clarke, the chief of British Secret intelligence, Middle East, Cairo bureau. Dudley Clarke is the man who came up with the idea of the Special Air Service, he named it the SAS. But it was just a propaganda tool before Stirling came along and made it real – so he reckons he invented the SAS, and that’s good enough for me.
Tell me a bit more about why he had to ‘invent’ the SAS
It was a ghost regiment, he made it up to scare the Germans and Italians into thinking the Brits had a parachute regiment to destroy their aircraft - and then of course, they did. But, he called it L detachment, meaning that there was A, B, C, D, E, F, G, H… and it was called First Division. Anyway, he was pretending that it was this vast division with thousands of paratroops - in fact it was just
Stirling and bunch of his ragtag mercenaries. Dudley Clarke said that his job was jokes and tricks, so he just operated out of a basement and made up lies to spin the Germans. Hilarious character.
Tell me a bit more about the man, because his costume can be quite interesting at times…
Dudley the man, when he wasn’t hatching plots and lies to tell the Germans, would sometimes wear delicious long gloves and dress up as a woman, and there are photographs of him doing that. He’s a fascinating, very complex character.
We’ve got his pictures and I’ve been made to look like him. But to be honest I don’t, because he looked much better in a dress than me. I just don’t look good in a dress.
How has it been for you? Have you enjoyed playing the part?
I had a great time, though I missed out on the 50 degrees of the desert unfortunately! I was in minus 4 where we were. It’s a wonderful part, with wonderful scenes.
What did you know of the true story of the SAS before you started on this?
I love anything about the SAS, I think it’s fascinating. I’d read the book by Ben Macintyre when it first came out. When Tom Shankland, who I worked with on Les Miserables a few years ago, rang me up and said “I’m doing this, do you want to be involved?” I said, “Yes Thomas - yes I do Shanky!”.
As a fan of the history, are you excited about the story of the SAS coming to the screen?
I think it has such mystique and romance, the SAS. Especially for people like me who remember the Iranian embassy siege in the 80s - that was when suddenly this crack regiment with the ‘who dares wins’ motto seemed to really enter the public mythology, and I’ve been fascinated by them ever since.
Interview with director Tom Shankland
What is SAS Rogue Heroes?
I would like to think that SAS Rogue Heroes is a great yarn about the spirit of the people that invented this extraordinary unit of guys in World War II, who in a way changed the nature of warfare. But if that sounds a bit dry or a bit grim, it actually isn’t because what makes SAS Rogue Heroes so exciting is the rebel spirit of these men.
Within the series there is some history - the events by and large did happen - so it is the origin story of the SAS at its simplest. But I like to think that our approach to it is really a celebration of the spirit of those guys back in 1941. The trials and tribulations, what it took of them, what it did to them, how it changed them. And also their amazing triumphs that they managed to achieve by devising a completely new way of doing things. I think that is what it makes it exciting.
What compelled you to take this project on?
When I first heard about SAS Rogue Heroes my brain was automatically full of images of macho, tough guys in the desert. I approached the script in a way a little bit wary, because I thought I am not really interested in doing something that is a celebration of tough guy machismo. But what was amazing was the second that I started turning the pages I realised that the true story of these guys - and what Steven Knight brilliantly celebrates - is that they were entirely the opposite of what you would expect.
David Stirling was a failed painter and an aspiring mountain climber, being a part-time cowboy from a posh family but absolutely of the kind of eccentric, drunken gambling variety. Paddy Mayne had an interesting relationship with alcohol, could be violent but amongst other things had a beautiful lyrical soul and loved poetry, and wanted to be a writer. And then we have Jock Lewes, who had a very interesting relationship with trying to win the war. He had a girlfriend in Germany who was in the Nazi party, but then after Kristallnacht he became fanatically opposed and appalled by anything to do fascism and decided to go on a one man crusade to stop the war. He was obsessively inventing bombs and devising training techniques to allow for four people to go off and blow up the entire Third Reich. He had his own wonderful eccentric craziness.
I think what is interesting about all three key guys is that none of them fitted the military mould of that era. When I was digging into the scripts and the stories and went back to Ben Macintyre’s brilliant book and back to Steven Knight’s brilliant script again, there is a sort of fantastic fun, energetic madness and swagger about them which is so thrilling. I felt that it was everything I thought it might be, suddenly all the images that came into my head were much more entertaining, zany and about the kind of craziness of the situation in what these guys did and how they did it. I made it my task as a director to lean into that and evoke the spirit of the guys. And evoke and express it in a style which has, hopefully, all of the swagger and the sort of enjoyable function of the guys themselves.
I also thought that the spectacle of the war itself and how we treated it should also reflect that. The whole project, the tone and style of it needed to avoid becoming a grim, gritty, distressing picture of war and hell and instead in a sense a celebration of those who went out there in order to make things happen and change the course of the war. How did you approach the balance and complexity of showing this?
Approaching war or violence in any form you, as a film maker, have to sit back and ask all those questions about what you are going to show and why. What effect you want it to have on the audience and why you are telling the story in a particular way, or approaching a scene in a particular way.
Steven told me a story about when he went to interview David Stirling’s secretary, someone who had worked with him in the 70s. She told Steven that at lunchtime, they would all look out the window because what Stirling normally would do is go walk across the road to a sandwich bar but he would close his eyes and walk directly into the traffic. Steven uses that at the beginning of the first episode as a way to get inside the head of David Stirling who loved living life close to death. The feeling that gave him, the rush that gave him, was something that elevated him and kept him feeling excited. So that’s another thing I kept in mind when thinking about the violence or about the action. It’s not always just about the gory act itself - sometimes it’s the act of the thrill that a certain kind of person will get from being in that kind of danger.
Can you briefly set the scene of Cairo in 1941, where we first meet our characters?
Even though the front line wasn’t that far away, Cairo was very much a party city and it was famous for its nightlife, its nightclubs. There were lots of great descriptions. There were a lot of interesting writers who turned up in Cairo at that point. Obviously a lot of soldiers were there from all over the ally powers. There were Czechs, Indians, Brits, Aussies. There was this kind of vibrant community there, various communities rubbing along during war
Everyone speaks so highly of your energy on set - what is the atmosphere that you like to create during filming?
Well that’s always very nice to hear! I guess I’m a big believer that when you are on set you are playing. There are so many things that you could get stressed about when you’re filming. I tend not to only because, I suppose fundamentally I do think we are just playing.
I think there is a direct correlation between being a kid and playing games in a sandpit, making stories up about monsters or whatever, and doing what we do. To me it’s exactly the same, and I think if you lose that or forget it then you can suddenly be in a world of pain, stress, conflict and it seems pointless because usually you’re with all of these super cool people who want to do this super cool thing. We are all unbelievably privileged to do what we do and be in the places we get to go to do it.
I’m always excited to go to set and see what everyone else thinks about what we’re going to do that day. I’ll go in of course with a plan, and I’m a great believer in communicating and prepping your ideas as early as you can so you are not springing surprises on people. I think fundamentally you just want to get there and make sure and listen to people. Encourage them to be as brilliant as they can be, and just enjoy watching that kind of magical thing. Of course you know you are telling a story, I think everyone understands the goal of what you are doing and the process should be as joyous as it can be. That’s my fundamental thing about what a film set should be like. It’s a glorified sandpit, and – when filming in the Sahara - we are in the biggest one in the world!
What were the biggest challenges?
Day one we had a sand storm, day two we had half a sandstorm, day three we had an all-day sandstorm, day four we had a quarter of a day of a sandstorm… We then started to schedule round the possibility of sandstorms. You always try to create an environment where people can do more work. There’s just some things that you can’t control and you just have to rock and roll with that.
Sandstorms we can’t do anything about and also we got some great footage of them for the series which were otherwise going to costs us a lot of money in visual effects, and we got that for free! I like to be positive about that!
We are doing a story about people who were fighting an unbelievably awful war against an unbelievable, awful ideology. What they put up with was unthinkably more distressing and traumatic than anything that us TV people were having to put up with. If they stuck it out through all of that then I don’t think I’ve got anything to complain about.
Why do people think they will enjoy the show?
I take the story incredibly seriously – this story, oddly enough didn’t take themselves or situations seriously. Steven Knight tells the incredible story of Mike Sadler who was in the Long Range Desert Group and then joined the SAS. When Steven managed to talk to Mike before writing the project Mike told him a story where he described being attacked. You’re thinking that must have been terrifying and Mike said “yes it wasn’t ideal”. There is something about the understatement and sense of fun, and the sense of them not wanting to be, as Stirling would say, ‘pomposo’ - we are trying to celebrate that.
Even though we want to do justice to these men and their contribution to the war and their place in history, I’m not doing it with a really earnest school master-y approach. I’m doing it in a way that looks to channel their spirit and make it feel as fun and as timeless and rebellious and as cool as I think they were. I want the audience to see that and enjoy that. I think these men had something to teach us which we want to celebrate with our series.
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